The Tomb of the Diver has been subject for many decades of fierce debate among archaeologists and classicists. Since its discovery in 1968, some scholars have considered it a unique example of the lost tradition of Greek painting, others have emphasized Etruscan or Italic parallels. More recently, a possible local production has been suggested. With the aim of trying to solve the archaeological question, an archaeometric comparison among this well-known artwork and several frescoed tombs coming from Hellenistic and Lucan necropolis was carried out. The multi-analytical study was focused on the identification of peculiar features of executive techniques and raw materials since the first period of the archaeological site. The analytical investigation has been preliminary based on a non-destructive approach, performed in-situ by portable equipment including imaging diagnostics and compositional spectroscopic techniques for identifying pigments and the conservation state of original painted surface; subsequently, a further deepening by using destructive techniques was performed in-lab for the mortar-based supports characterization. Archaeometric study suggested that technological choices slightly changed in a time span of about two centuries, highlighting important markers that allow clustering the contemporary artistic productions. Moreover, a comparison with mortars from temples decorations was provided to better understand the whole artistic context. The archaeometric data showed that the Tomb of the Diver could be traced back to a local artisanal tradition and therefore is neither Etruscan nor Greek, but the first and foremost an expression of the local elite culture of Paestum.

The National Museum of Rome has an important collection of Mithraic sculptures found in the years 1973–1975 during the archaeological excavation under the early Christian basilica of Santo Stefano Rotondo on the Caelian hill in Rome. The sculptures excavated from this Mithraeum show many traces of gilding and polychromy, whose best example is the great bas-relief with Mithras slaying the bull discussed in this work. The analysis was conducted during a scientific campaign in the museum with portable instrumentation of the Institute for Conservation and Valorisation of Cultural Heritage, ICVBC mobile laboratory following a completely non-invasive approach. By means of a protocol based on the use of multispectral imaging, microscopy, X-ray fluorescence (XRF) and fiber optic reflectance spectroscopy (FORS), this study allowed to better understand the technique used and to make comparisons with other representations of Mithras slaying the bull.

Laropal^® A81 is a urea-aldehyde resin used as a varnish for paintings requiring 30%–40% of aromatic solvents to be dissolved. Considering the dangers of aromatic solvents for the environment and health, an attempt was made to replace them with less impactful and low-toxic solvents. The present research investigates a new formulation with aliphatic hydrocarbons and esters (isobutyl isobutyrate, IBIB) as an alternative to traditional aromatics mixture. Traditional and alternative varnish formulations of Laropal^® A81 were studied on an inert support and paint samples to test the resin by itself and in interaction with paint film, respectively. This study aims to compare the two different formulations of Laropal^® A81 by evaluating their optical, colorimetric, and stability proprieties before and after natural and accelerated ageing. Colorimetry and spectroscopic techniques (transmittance and reflectance UV-VIS-NIR, FORS, transmittance and total reflectance FT-IR, and ¹H-NMR) were used for the assessment. Very promising results have been obtained with the application of the alternative formulation, with data comparable to those of the traditional formulation, paving the way for the replacement of the aromatic-based solvents traditionally used with IBIB. This allows a safer and more sustainable conservation practice with considerable benefits for the health of the operators and the environment.

The Hebrew Scroll, catalogued as Magliabekian Manuscript III 43 and belonging to the National Central Library of Florence (BNCF), is a membranous richly decorated scroll, with colorful depictions of sacred sites through the Holy Land to Lebanon along with handwritten texts in Hebrew and notes in Italian. Despite the fact that the manuscript was originally catalogued as an “object of no artistic or scientific value”, recent paleographic studies dated it to the XIV century and highlighted it as the oldest scroll still available, depicting holy places from Egypt to Lebanon. Nevertheless, precise dating, authorship, and the interpretation of its original function are still uncertain. A suite of complementary techniques was used, including photographic documentation in visible (VIS) light in diffuse light, grazing light, and transillumination, luminescence induced by ultraviolet (UV) radiation, imaging spectroscopy (IS), Macro Area X-ray Fluorescence (MA-XRF), and spot analyses such as fiber-optic reflectance spectroscopy (FORS) in the UV, VIS, and near-infrared (NIR) regions, Fourier transform infrared spectroscopy (FT-IR) in external reflectance mode (ER), and micro-Raman spectroscopy. The results of the non-invasive diagnostic campaign enabled the identification of several constituting materials (parchment, pigments, binder, and inks). The identified materials were consistent with the proposed dating and geographical manufacturing area of the artefact.